Deck 28: Art of Pacific Cultures

Question 1

Which of the following statements does NOT apply to the korambo, or spirit house, found in the Abelam culture of New Guinea?

A) The elaborate façade must be ritually repainted.
B) Secret initiation rites are performed inside.
C) Entering and exiting is the symbolic equivalent to death and rebirth.
D) A completion of the building's façade is celebrated with a six-month ceremony.

Answer 1

B

Question 2

The moai Rapa Nui have parallel lines on their ears suggesting __________.

A) religious worship
B) ear ornaments
C) human sacrifice
D) class structure

Answer 2

B

Question 3

The people of New Guinea are as __________ as its lands.

A) diverse
B) homogenous
C) turbulent
D) quiet

Answer 3

A

Question 4

The creation of all Polynesian art is considered __________________.

A) a scholarly endeavor
B) a royal practice
C) a demonstration of cultural loyalty
D) a sacred act

Question 5

The "Time of the Tubuan" ceremony in New Britain involves all of the following EXCEPT____________________.

A) initiation into a secret male society
B) the calling up of spirits represented by Tubuan masks to settle disputes
C) the performance of masks with a distinctive tall conical shape
D) a ceremony related to a headhunting raid

Question 6

New Guinea and the neighboring islands have more than 700 __________.

A) languages
B) lizards
C) roads
D) animals

Question 7

What natural resource was used by the people of Nan Madol to construct an architectural complex of 92 artificial islands set within a network of canals that was protected by massive seawalls and breakwaters?

A) volcanic stone (tufa)
B) basalt from nearby cliffs
C) mangrove trees
D) coral

Question 8

What changes have occurred in the modern manufacture and use of bilum work bags in New Guinea?

A) Machines are used for greater efficiency.
B) Contemporary fibers including nylon and acrylic yarn are used.
C) They are worn by men as well as women.
D) All of the above.

Question 9

While today some Asmat bisj poles are sold to outsiders, traditionally they were____________________.

A) buried with the bodies of the deceased
B) left in swamps to deteriorate
C) placed permanently in front of special houses belonging to the village men's society
D) burned in ritual ceremonies

Question 10

Feather cloaks were closely associated with the mana or _________ of members of the Hawaiian elite.

A) divine nature
B) spiritual power
C) wealth
D) military strength

Question 11

The Feather Cloak, or Kearny Cloak had a foundation made from __________.

A) coconut fibers
B) strung pearls
C) pineapple leaves
D) corn husks

Question 12

__________ worked in sand drawing, which Geoffrey Bardon helped transform into a painted mural.

A) Easter Islanders
B) Maori
C) Aborigines
D) Hawaiians

Question 13

A yam cult has a __________ place in Abelam society.

A) central
B) marginal
C) medical
D) debased

Question 14

Much of the art of indigenous Australian peoples developed ________________.

A) as commemoration of historical events
B) to celebrate the culture's heroes and leaders
C) to relive and transmit stories about ancestors
D) as part of burial and death rituals

Question 15

Maori men in New Zealand prized __________ and considered it to have sacred powers.

A) emerald
B) sapphire
C) jadeite
D) coral

Question 16

__________ were widely used as ornaments in Hawaiian culture, decorating cloaks, helmets, capes, and blankets, among other things.

A) Shells
B) Palm fronds
C) Flowers
D) Feathers

Question 17

People in the Marshall Islands relied on stick charts called wapepe or mattang , which ____________.

A) show navigational routes connecting islands
B) show a schematic diagram of ocean currents and wave patterns
C) are shells and sticks held together by coconut fibers
D) all of the above

Question 18

The Royal Mortuary Compound of Nan Madol is located in __________.

A) Australia
B) Lapita
C) Micronesia
D) New Zealand

Question 19

The structure of the Maori meetinghouse (whare nui) stands on an open plaza called a ____________.

A) turanga
B) hapu
C) iwi
D) marae

Question 20

Which was NOT a factor in the destruction and knocking over of moai at Rapa Nui?

A) contact with European explorers
B) warfare among the islanders
C) overpopulation strained the island's resources
D) the emergence of the bird-man cult

Question 21

What restrictions apply to paintings sold by Aboriginal artists in the central and western Australian desert?

A) They do not provide explanations to the symbols used in their paintings.
B) They only depict stories that can be known by uninitiated audiences.
C) The artist of the image must remain anonymous.
D) Any profit from the sale of art is divided equally among the community's members.

Question 22

A hallmark of Maori facial tattoos is the use of __________.

A) rows of triangles
B) color
C) spirals
D) dots

Question 23

How do works by contemporary Aboriginal artist differ from traditional ceremonial art?

A) The symbols have contemporary meaning.
B) The technique of layering of concentric circles, undulating lines and dots.
C) The use of long-lasting materials.
D) All of the above.

Question 24

Contemporary ____________among Pacific cultures has (have) been a useful way to involve young people in learning about their heritage and traditions.

A) art
B) festivals
C) scholarship
D) all of the above

Question 25

What common artistic interest appears in most of Pacific cultures?

A) monumental structures used for religious purposes
B) tattooing and performative arts related to ritual
C) narrative imagery depicting cultural history
D) an emphasis on the sea and marine life

Question 26

Which of the following is NOT a form of ceremonial art created by indigenous Australians?

A) sand drawings
B) paintings on rock and bark
C) mural paintings
D) ground sculptures

Question 27

Which ritual structure is involved in the initiation of girls?

A) Korambu
B) Malagan
C) Bisj
D) Te-Hau-ki-Turanga

Question 28

The Maori tradition of building a large wooden meeting house evolved after _______________.

A) the population experienced dramatic growth
B) contact with Westerners
C) the introduction of steel tools
D) Raharuhi Rukupo introduced a new design

Question 29

Very large pieces of bark cloth were commonly used in western Polynesia as ______________.

A) ceremonial gifts
B) domestic objects
C) carpets
D) wall coverings

Question 30

Common to Polynesian cultures are the carved sculptures called tiki, which represent ___________.

A) fertility gods
B) ancestors
C) nature spirits
D) mythic warriors

Question 31

How were Lapita ceramics decorated?

A) They were covered with red slip.
B) They were decorated with figurative images.
C) Dots, lines, and hatchings were stamped or incised on the surface.
D) All of the above.

Question 32

The Asmat culture's production of Bisj spirit poles reflects their belief that_______________.

A) Spirits can be called upon to settle disputes, stop fights, and punish lawmakers.
B) Relatives must avenge the death of their ancestors.
C) Wealth and status can be attained through homage to one's ancestors.
D) Ancestral spirit beings arrived from the sea and took many different forms.

Question 33

The bargeboards in the Maori meeting house are symbolic of the outstretched arms of the tribe's __________.

A) founding ancestor
B) ancient ruler
C) mother goddess
D) artist's elder brother

Question 34

What unusual feature appears in the relief carvings of ancestors covering the supporting structures of the Te-Hau-ki-Turanga meeting house?

A) a plaque calling for the rights of indigenous peoples in New Zealand
B) soft, shallow surface carving resulting from the use of stone tools
C) a naturalistic portrait of the artist
D) figures shown with their tongues sticking out

Question 35

Which material is NOT used in the production of Micronesian art?

A) feathers
B) coconut and banana fibers
C) turtle shells
D) wood

Question 36

What feature is NOT characteristic of Polynesian art objects?

A) They are made of ephemeral materials.
B) They are believed to have spiritual powers that could increase or decrease.
C) They frequently reflect social status.
D) They are handed down as heirlooms.

Question 37

All of the following statements about tattooing in the Marquesas islands are true EXCEPT __________.

A) Tattooing is considered taboo among women in the culture
B) Evidence suggests a relationship between tattooing and markings applied to pottery
C) Tattooing was a sacred process conducted in special houses built for the occasion.
D) Tattooing was done to mark passages in people's lives and commemorate special events.

Question 38

What element of tattooing is most sacred to people of the Marquesas islands?

A) the symbolism of the designs and patterns
B) the process of shedding blood
C) the display of status and wealth
D) the ceremony involved upon the completion of the tattoo

Question 39

Known for their seafaring skills and construction of fine canoes, the people of Micronesia produced functional wapepe, or ____________, which also have an aesthetic impact.

A) navigational maps
B) baskets
C) woodwork
D) textiles

Question 40

How were designs traditionally made on bark cloth?

A) freehand painting
B) stamps made from bamboo
C) rubbing pigment on cloth placed over a carved patterned surface
D) all of the above

Question 41

The people of __________ were the most extensively tattooed of all Polynesians.

A) New Zealand
B) the Marquesas Islands
C) New Ireland
D) Samoa

Question 42

Korambo spirit houses of the Abelam culture possess a male architectural element, which is interpreted as the structure's penis, and a ______, which symbolizes the female womb.

A) triangular floorplan
B) small door
C) figurative sculpture at the top of the structure
D) open hearth

Question 43

What product of Abelam society is associated with clan ancestry and serves as the focus of an important tribal cult?

A) bark cloth
B) yams
C) canoes
D) pigs

Question 44

Why were feathers considered such prestigious objects in Hawaii?

A) Feathers were associated with a sacred bird-man cult.
B) Certain colors were exceedingly rare and collecting them was very laborious.
C) Birds were believed to have spiritual connections to ancestors.
D) Feathers were widely available and symbolic of nature's abundance.

Question 45

What has been the primary criticism of Pacific culture arts festivals in recent years?

A) A number of smaller cultures have not been represented.
B) Native traditions have been negatively impacted by increased professionalism and commercialism.
C) Organizing the festivals is expensive and drains the local economy.
D) Sacred tribal secrets have been disclosed to uninitiated outsiders.

Question 46

__________ prevented women from entering Maori meetinghouses.

A) Taboos
B) Spirits
C) Mothers
D) Fathers

Question 47

How might the use of tufa in the production of moai reflect their function as memorials to ancestral chiefs?

A) It is more permanent than other materials.
B) Its color is symbolic of royalty.
C) It is believed to have spiritual powers.
D) It can be carved with great detail.

Question 48

Which objects produced in the Pacific islands are a symbol of royalty?

A) tapa (bark cloth)
B) kahili (tall feather pompons)
C) coral beads
D) tattoos

Question 49

What is unusual about women's role in the construction of Maori meeting houses?

A) They are responsible for painting many of the exterior details.
B) Ritual prohibitions prevent them from entering the building.
C) Their ceremonial role demands that they stay at the site for several months.
D) All of the above.

Question 50

Far-fetched theories regarding the origins of moai on Rapu Nui are challenged by _______________.

A) recent archaeological evidence
B) rock paintings at the site
C) their similarity to established Polynesian traditions
D) none of the above

Question 51

The largest island in Melanesia is __________.

A) Vanuatu
B) Fiji
C) Santa Cruz
D) New Guinea

Question 52

Which Micronesian site known for its extensive architectural complex had been abandoned before Europeans discovered it in the nineteenth century?

A) Marshall Islands
B) Palau
C) Yap
D) Nan Madol

Question 53

As Polynesians migrated across the Pacific, they brought with them the production of __________, which was used for clothing, sails, mats, and ceremonial purposes.

A) tufa
B) bark cloth
C) bamboo
D) coral

Question 54

What is the relationship of meeting houses such as Te-Hau-ki-Turanga to the Maori's ancestors?

A) The building is the site where tribal history and genealogy are preserved.
B) The building's framework depicts the tribal ancestors who symbolically uphold the structure.
C) The building's ridgepole and slanting bargeboards represent the tribe's founding ancestor.
D) All of the above.

Question 55

Clan leaders in New Ireland rose to prominence through malagan ceremonies that honored their _______ recently deceased ancestors.

A) father's
B) son's
C) wive's
D) mother's

Question 56

Loosely woven netted work bags called bilum indicate __________ among the Wahgi tribe of New Guinea.

A) whether a woman is eligible to marry
B) the social rank of the wearer
C) an individual's profession
D) different ancestral affiliations

Question 57

How has the production of bark cloth changed in modern times?

A) Environmental concerns about extinct species of trees has ended its production.
B) The bark is now beaten using a mechanical process.
C) Contemporary fabric paint is often used for decoration.
D) Synthetic material resembling bark is used.

Question 58

The moai found at Rapa Nui have no _________.

A) hair
B) eyes
C) hands
D) legs

Question 59

The Polynesian people emerged from the ancient _________ culture, who probably migrated from Taiwan about 6000 years ago.

A) Mongolian
B) Chinese
C) Lapita
D) European

Question 60

Raharuhi Rukupo was a nineteenth-century master __________ of the Maori.

A) chef
B) tattoo artist
C) chief
D) carver

Question 61

What are some distinctions between Melanesian and Polynesian peoples?

Question 62

What are the four geographic areas of Oceania?

Question 63

The wooden design tablet used by Samoan artists to create siapo bark cloths is called a(n) ______.

A) upeti
B) tapa
C) moai
D) hapu

Question 64

The ___________ refers to the period before humans existed and is integrally related to the life of indigenous Australians.

A) Awakening
B) Sleeping
C) Dreaming
D) Flight

Question 65

The poupou in Maori culture is used for what architectural purpose on a meetinghouse?

A) house panel
B) painted interior pattern
C) lattice panel
D) support pole

Question 66

What are Moai?

Question 67

The monumental Moai figures on Rapa Nui are carved from ______.

A) granite
B) tufa
C) marble
D) coral

Question 68

What is the malangan?

Question 69

The people of New Ireland, Papua New Guinea create a special structure called a Malagan Display to house elaborately carved and painted sculptures for what purpose?

A) honor the dead
B) celebrate a victory in battle
C) initiate adolescents
D) wedding ceremonies

Question 70

What was Nan Madol?

Question 71

How did the Hawaiian use feathers in their art?

Question 72

What is known about the art of the Marquesas?

Question 73

In 1980, which man became the first Marquesan in modern times to be fully tattooed?

A) Raharuhi Rukupo
B) Teve Tupuhia
C) Clifford Tjapaltjarri
D) Shigeyuki Kihara

Question 74

How were korambo (haus tambaran) houses constructed?

Question 75

How did the Aboriginal artists use cross-hatching?

Question 76

What is bark painting?

Question 77

In 1980, which man became the first Marquesan in modern times to be fully tattooed?

A) Raharuhi Rukupo
B) Teve Tupuhia
C) Clifford Tjapaltjarri
D) Shigeyuki Kihara

Question 78

How did missionaries play a role in the production of fiber arts?

Question 79

What is a mattang or wapepe?

Question 80

Moai Ancestor Figures are located on Rapa Nui, also known as what island?

A) Polynesian
B) French
C) Solomon
D) Easter